We know everyone and their mother has read this already, but still: Keith Brammer‘s interview with one Crispin Hellion Glover at the Onion AV Club on "What Is It?", self distribution and the state of indie film is solid gold. Weird, weird gold.

One of the reasons I made the film in this fashion is that films right now sit within the boundaries of what’s considered good and evil. And if a filmmaker wants to make or distribute a film which has elements in it that go beyond good and evil, where there is not a commentary on those elements, those films will not get funded or distributed.

At the San Francisco Bay Guardian, Kimberly Chun has a long chat with Daniel Clowes about art school and "Art School Confidential."

"If I watch a comedy, after about an hour I just want it to end," Clowes says. And it was a cinch for the screenwriter and coproducer to get in touch with that old art-school anger and alienation. "That’s always there," he continues. "Being a cartoonist, except for the last couple years, was always a frustrating and humiliating field to be in. It was so impressed on me already — none of the big successes of last five years have any meaning for me. It hasn’t changed a thing. ‘Oh, I’m in the New York Times‘ — it doesn’t help. My resentment was so deep for so long that I can’t shake it.

"Look at Charles Schulz," he adds. "The most successful cartoonist in the history of the medium had over $200 million when he died, and the most beloved cartoonist of all time, and he was still bitter about slights when he was a young guy, when people didn’t give him a break. I can absolutely relate to that."

In the Independent, Chris Sullivan talks to Gael Garcia Bernal about "The King," while at the Telegraph, the film’s director James Marsh discusses with David Gritten how Bernal’s early commitment to the film helped get it made. And at the London Times, Garth Pearce interviews another of "The King"’s stars: Laura Harring (who’s almost unrecognizable in the film — she sort of makes herself into Jeanne Tripplehorn in "Big Love").

At the Observer, Lynn Barber profiles Ray Winstone, and writes that his new film "All in the Game" "is remarkable for having the highest expletive count of any film I have ever seen." At the Guardian, Xan Brooks‘ talks with eternal character actor Luiz Guzmán:

Guzman is so good at melting into the warp and woof of a production that he can sometimes be overlooked, or confused with others. The press material for his latest film, for instance, misspells his surname (as "Guizman"). When I ask what movie he is most identified with he tells me it is "Ghost." It’s not that he was actually in "Ghost," he explains. It’s just that people tend to mix him up with Rick Aviles, another actor of Puerto Rican descent.

At the Independent, Geoffrey Macnab stops in with Kieslowski muse Irène Jacob:

Kieslowski, she says, refused to discuss the underlying themes of the film ["The Double Life Of V̩ronique"] with her. "That would have meant speaking about metaphysics and chance and doubles. He told me that because the film could be taken on such a poetic level we had to be very concrete. For him, metaphysics and chance was something always there in banal, everyday life Рa piece of light, the rain," she recalls.

And at New York, Liesl Schillinger has a Q&A with "Wah-Wah" writer/director Richard E. Grant.

+ Crispin Glover (Onion AV Club)
+ The class struggle of Daniel Clowes (SF Bay Guardian)
+ Gael Garcia Bernal: Journeys of the soul (Independent)
+ How a star kept our film on the road (Telegraph)
+ Living in a material world (London Times)
+ ‘I had to keep kissing Angelina Jolie’ (Observer)
+ Accidental actor (Guardian)
+ Irène Jacob: The picture of innocence (Independent)
+ African Boyhood: Richard E. Grant (New York)